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The Gospel According To The Meninblack 1981 Album

The Gospel According To The Meninblack The Gospel According To The Meninblack
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Length
40m 28s
Country
United Kingdom
Release Dates
1981-02-09
Description
The Gospel According to the Meninblack (or sometimes referred to as just The Meninblack) is the fifth album by English rock band the Stranglers, an esoteric concept album released in 1981 on the Liberty label. The album deals with conspiratorial ideas surrounding alien visitations to Earth, the sinister governmental men in black, and the involvement of these elements in well-known biblical narratives. This was not the first time the Stranglers had used this concept; "Meninblack" on the earlier The Raven album and subsequent 1980 single-release "Who Wants the World?" had also explored it.
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Tracklist
1. Waltzinblack 3m 37s
2. Just Like Nothing On Earth 3m 54s
3. Second Coming 4m 23s
4. Waiting For The Meninblack 3m 44s
5. Turn The Centuries, Turn 4m 34s
6. Two Sunspots 2m 32s
7. Four Horsemen 3m 40s
8. Thrown Away 3m 30s
9. Manna Machine 3m 17s
10. Hallow To Our Men 7m 26s

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Building from the song “Meninblack” on The Raven, the Stranglers found themselves with the time and resources to riff on that idea however they wanted to, and this album was the end result. JJ Burnel has claimed that it may be the first “techno” album, but as usual, the truth is far harder to ascertain. Certainly, the music is keyboard-emphasized, but not exactly the danceable New Wave most people think of when they think of the genre. Not with the obscure references to aliens, the often-confusing rhythmic patterns, and the deadpan and/or hollowed-out delivery coming from the vocalists on all of these tracks. And to think, the band actually thought something like “Thrown Away” would be a hit? Yeah sure – if the chart was on Hades, or someplace similar. This is, for all intents and purposes, the Stranglers’ indulgence album. And more power to them, I say, because many tracks here are quite interesting and need quite a few listens to properly sink in. The cover itself looks like a complicated tome for an even more overwhelmingly complicated volume of work within. Of course, when one hears the aural content, the only real confusion arises from the theme, which like most of these affairs, is rather undefined to begin with.It is Greenfield and the rhythm section doing yeoman’s work, not only holding it together for the sake of pure comprehension, but also giving life to what could have been otherwise staid textures and moods.
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